another thought... after listening once agin to Yeats... his father was a preacher... perhaps this bardic voice which Yeats manifested so well was learned as a boy while listening to sermons... and the evangelical voice itself... old as an anicent tribe, handing down in a tradition before books! Stoneking ----- Original Message ----- From: Barry Ahearn <[log in to unmask]> To: <[log in to unmask]> Sent: Tuesday, November 23, 1999 11:26 AM Subject: Re: recordings of Ezra > I recently played the Caedmon recording of Canto I for my students and they also > were struck by the rolling "r". We can rule out Idaho since EP left there at > such an early age. No one I know from the Philadelphia area (at the end of the > century, of course) sounds like that. It strikes me as a deliberate emphasis. > Association of the primitive with the guttural? > > Barry Ahearn > > Richard Edwards wrote: > > > What I find particularly extraordinary is the scottish roll to the "r"s in > > Pound's reading of Canto I (which I tracked down on the internet thanks to a > > recent "lead" posted to this list: see > > http://www.poets.org/LIT/poem/epound06.htm). I'd like to know how this > > strikes a native speaker of American English - is it idiosyncratic or does > > it come up from Pound's roots, in Idaho for instance? > > > > Richard Edwards > > > > >From: Richard Caddel <[log in to unmask]> > > >Reply-To: Ezra Pound discussion list of the University of Maine > > > <[log in to unmask]> > > >To: [log in to unmask] > > >Subject: recordings of Ezra > > >Date: Mon, 22 Nov 1999 22:41:44 GMT > > > > > >I've just been re-listening to tapes of EP reading - Hugh Selwyn > > >Mauberley and Canto 1 from Washington 1958; and a range of Cantos from > > >Spoleto, 1967. A couple of things strike me: > > > > > >1. anyone noticed the progression from 58 to 67? The strong yeatsian > > >tone of the earlier has modulated somewhat in the later one: ok, he's > > >older, the voice more tremulous and less consistent, but in the later > > >recording there's a greater range of tone and pitch - it seems to me. > > > > > >2. At Spoleto, in Canto XVI, the names of those gone to the war are > > >different to those in the present printed ed of the Cantos: I'm > > >working from home at present, without a full range of sources to hand > > >- can anyone tell me when these names changed? > > > > > >Anyone any other thots on Pound as Reader? It strikes me that he's at > > >his best when the highly stylised tones (derived from Yeats) drop away > > >and the greater range / variety shows through, even tho that seems to > > >be at a point when his voice is going. > > > > > >RC > > > > ______________________________________________________ > > Get Your Private, Free Email at http://www.hotmail.com >